Throughout an adult life that witnessed drastic cultural upheaval between the Civil War and World War I, Bertha Honoré Palmer (1849-1918) was continually called on to deploy her Victorian values in response to modern events. Being a woman only complicated this negotiation. But being a child of the American frontier granted her a latitude and mobility that were rare for women of her class and era – allowing her to challenge gender boundaries and occupy more than one cultural space at a time. Most of what has been written about Bertha Palmer’s life has been exceptionalist in approach and tone, ascribing her outsized social and political successes to her physical beauty and perfection of temperament. I believe Bertha Palmer’s importance as a crucial transitional bridge between True Woman and New Woman has been underestimated in this discourse. Near the end of her life, a move to Florida offered her the potential to resolve the inside/outside, domestic/public, feminine/masculine dialectics that lay at the heart of her restless movements. These contradictions and dichotomies that Bertha Palmer embodied on a grand scale do more to make her knowable to us today than the record of her words and actions can accomplish. Both her Victorian reticence and her modernistic construction of a seamless public façade have a way of hindering our best efforts to understand her motivations – especially the choice to move to Florida – despite a wealth of biographical material, including her correspondence housed in Chicago and Sarasota history centers, and contemporary news accounts. In the end, the cultural history of the Gilded Age gives us the only reliable lens for penetrating the veneer of Bertha Palmer.

The thesis Mounted on a Pedestal, chronicles the life of Bertha Honoré Palmer. The focus of her story are the years after 1910, when she traveled to Sarasota, Florida and heralded the flight to the southernmost state, leading the pack in the purchase and development of land in the Sarasota/ Tampa Bay area. The totality of her years prior to that time serve as a prelude to her accomplishments and the vicissitudes of her life in the sleepy little fishing village she found. Born in Louisville, Kentucky, in 1849, she was provided with a privileged, comfortable childhood and a sheltered academic education at the most prestigious schools for young ladies of the day. She excelled academically and won high praise for her exemplary demeanor. She was beautiful, intelligent, musically gifted, a competent linguist and writer, an astute businesswoman, a paragon of graciousness, and politically savvy. She married business mogul, Potter Palmer, when she was twenty-one and he forty-four. Bertha Palmer was a pacesetter of haute couture; the society pages of the newspapers were filled with detailed descriptions of her gowns, her jewels and her lavish parties. Her Chicago homes were architectural masterpieces and she furnished them with treasures from renowned artisans. In 1900, she was appointed by President William McKinley as the only woman on the national commission to represent the United States at the Paris Exposition. Mrs. Palmer's most prominent position was as president of the Board of Lady Managers at the Chicago World's Fair of 1893. She had close personal relations with the elite of American Society and European royalty. Following the death of her husband Potter, in 1902, Mrs. Palmer combined her life of splendor, advocacy, and mobility while pursuing every opportunity to increase the value of her holdings, principally with real estate investments. She had been bequeathed an estate worth eight million dollars. Before her death, she would more than double her net worth. She would invest in thousands of acres of land, build more homes and amass a fortune in possessions.